SKU: 57793476886

Maton Guitars Solid Road Series SRS-70C Dreadnought - 16640

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Maton Guitars Solid Road Series SRS-70C Dreadnought - 16640Maton Guitars Solid Road Series SRS 70C Dreadnought 16640 Limited Run Tobacco Sunburst Finish The Solid Road Series SRS 70C features Tasmanian Blackwood Back and Sides, A Grade Sitka Spruce Top, Scalloped Bracing, Queensland Maple Neck, Rosewood Fingerboard and Bridge. Blackwood tonal character vs. Koa Tasmanian Blackwood (also named Victorian Blackwood) is in the Acacia family, with a surface hardness on par to its sister wood Koa which grows in

Maton Guitars Solid Road Series SRS-70C Dreadnought - 16640

Limited Run - Tobacco Sunburst Finish

The Solid Road Series SRS-70C features Tasmanian Blackwood Back and Sides, A Grade Sitka Spruce Top, Scalloped Bracing, Queensland Maple Neck, Rosewood Fingerboard and Bridge.

Blackwood tonal character vs. Koa

Tasmanian Blackwood (also named Victorian Blackwood) is in the Acacia family, with a surface hardness on par to its sister wood Koa which grows in Hawaii. It provides excellent projection, while the density (specific gravity) is slightly higher offering a warmer bass register than Koa. Combined with the Sitka Spruce top you have a powerful yet balanced full sized dreadnought.

Standard cutaway feature

Not many builders offer a full sized dreadnought with a cutaway option, though Maton has been listening to performers longer than most guitar luthiers. They understand player's needs and build the quality tools to support their music.

Traditional advanced X bracing

A forward shifting of the X braces and the shifting of scallop peaks to nodal points around the soundboard help to enhance the vibration of the top. The shifting of the X braces also allows the inclusion of a second, parallel tone bar which allows the scalloping of both tone bars, and spreads the load while reducing mass.
 
Adjusted bracing heights as well as a locked 15 foot radius for the arch of the back, gave Maton the plate resonance separation they look for between top and back.

Easy, comfortable "neck feel" in the palm of your hand

Maton's standard C neck profile has slightly more depth in the middle than a Taylor, with no modified-V center line hump. We have clients of all skill levels describe the Maton neck as one of the most comfortable guitars in their collection.

The Maton 6-String SRS-70C features a standard bone nut width is 1.736" (44.1 mm) or 1-47/64th's - just 1/64th of an inch narrower than 1-3/4".

Maton AP5-Pro electronics included

An incomparable workhorse for live performance, the AP5 Pro features an internal Microphone and 6-Piezo bridge input, with controls that allow for blending of both microphone and piezo levels prior to sending the actively combined signals through the well engineered pre-amp.

The highly selective cardioid microphone system allows for much greater microphone level before feedback in live environments. This upgraded AP5-Pro microphone is direct mounted to the pre-amp casing with an adjustable arm, which permits easy final tweaking of microphone position to suit the individual artist's playing style.

Using the ‘Sweep-able Mid’ controls. Mid-range is sweep-able from 600hz to 2400hz and can be cut or boosted within this range. As a general rule we start out with all settings ‘flat’ then alter them to achieve the desired tone & presence based on the venue or recording environment. For example, an open, natural sound can be achieved by setting the frequency control at 1.4khz and the boost/cut control at 5db. Alternatively, for a ‘thick’ lead sound boost your mid's by 5 db and set the frequency dial at 1.7kh.


Specifications:

  • Model: SRS70c
  • Body Shape: Dreadnought W/Cutaway
  • Face: "A" Grade Sitka Spruce 
  • Back and Sides: Blackwood 
  • Neck: Queensland Maple 
  • Fingerboard & Bridge: Streaky Ebony
  • Face Inlay/Rosette: Sapele Ring
  • Sound hole: 100mm
  • Bracing: Scalloped Maton X
  • Inner Binding: None
  • Outer Binding: Black
  • Scale Length: 64.77cm (25.5")
  • Headstock Veneer: Sapele/Standard
  • Fretwire: Dunlop 6260
  • Number of Frets: 21
  • Fingerboard Radius: 304.8mm (12")
  • Nut Width: 44.1mm (1.736" - 1 47/64")
  • 14th Fret: Width 55mm (2.165" - 2 11/64")
  • Fingerboard Inlays: 6mm Pearl Dots
  • Back & Sides Finish: Satin Tobacco Sunburst
  • Top Finish: Satin Tobacco Sunburst
  • Bridge Pins: Ivory ABS
  • Machine Heads: Chrome Grover Rotomatic
  • Pick guard: Tortoiseshell with Gold M
  • End Pin/Strap: Chrome
  • Nut & Saddle: Bone
  • Case: Standard Maton Hardshell Case
  • Pickup: AP5-Pro 
  • Strings: Elixir (16052 Light Gauge) Nanoweb Phosphor Bronze 12-53
  • Serial Number:  8664
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SKU: 57793476886

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Howard
Dallas, US
★★★★★ 5
By far, the best book of many I have read on this subject. Must read for anyone interested in this subject.
Format: Paperback
Best book I have yet read on the subject, and I have read many in research for the writing of my second novel. It relentlessly examines specific cases of lynching over time, but it is not a mere narrative of specific lynchings. It is an excellent analysis of the social, historical and cultural forces behind this horrendous practice. The book's discussion of the movie, Birth of a Nation, would by itself make this a valuable book, but the book's central theme is even more important. Its central theme, the public's desire for spectacle as fuel for lynchings, particularly after the abolition of legal public executions, is even more revealing. Also a good look at the social and cultural forces that over time led to the gradual demise of lynching as a phenomenon. A page turner for history readers. Warning -- man's inhumanity to man will make you simultaneously angry and sad.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on July 24, 2015
A
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AlanWarner
Chelsea, US
★★★★★ 5
WHITE MOB JUSTICE
Format: Paperback
More black men were hanged in America in the twentieth century than were hanged during slavery, the author of this book Miss Amy Louise Wood does an excellent job of revealing who and what group of Americans did this whole scale hanging of black men. Many white people who participated and witnessed these hangings were your everyday run of the mill American citizens as stated on page 80-81 "As visual extensions of the lynching itself, photographs could at times assuage crowds that had missed the opportunity to witness and participate in the violence. In 1934, the posse that captured Claude Neal, accused of raping and killing a young white woman named Lola Cannidy, chose to lynch him in the woods outside Marianna, Florida, rather than bringing him to the Cannidy home, where a large crowd had gathered in anticipation of the lynching. When the waiting crowd had discovered that the mob had lynched Neal privately, they were reportedly outraged. The mob finally arrived with Neal's body in tow, and the crowd, which included Cannidy's family, took out their vengeance on the corpse, kicking and shooting it, tearing it apart, and even driving their cars over it. Neal's mutilated, nude body was then hanged on the courthouse lawn in the center of the town, and hundreds of photographs were taken. he next day, as people congregated in the square to see the body, the photographs were sold to those purportedly still incensed that the posse who lynched Neal had denied them the satisfaction and pleasure of witnessing Neal's lynching. The images acted as visual replications of the actual spectacle, offering them vicarious access to the missed thrill of the lynching. The gratification local viewers derived from the images of Neal's lynched body was directly attached to their outrage over Cannidy's rape and murder, their fears of black criminality, and their desires to assert their racial power and superiority in the face of these threats." Another interesting aspect of these mobs is the role religion played in their actions as stated on pages 67 "The performance of a lynching thus created a symbolic representation of white supremacy-a spectacle of demonic and wicked black men against a united and pure white community. That those images coincided with evangelicals' impassioned exhortations against sin gave lynching sacred force and justification. Indeed, the imprint of Protestant language and tropes on lynching rituals and defenses imbued the violence with divine sanction and made it appear familiar and recognizable to a people immersed in Christian beliefs and values. Mobs could thus conspicuously flout the law and perpetrate what otherwise would be considered aberrant and grotesque acts of sadism while considering themselves to be righteous and moral citizens." In the twentieth century the hanging of black men was a major festive event for many on looking white people as can be seen in the pictures on page 32 and also on pages 78 and 79, on page 79 you can see a young white man smiling, on pages 95 and 102 there are more pictures of gleeful white spectators, on page 192 there is crowd participation in this picture of a hanging and burning black man I thank this author for writing this very much needed book.
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Reviewed in the United States on July 6, 2015
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Carole T Emberton
Lexington, US
★★★★★ 5
A fresh take on lynching and its place in American culture.
Format: Paperback
A path-breaking study of lynching as spectacle and the meanings such events produced for the masses who attended them as well as for those who saw the photos and postcards afterwards. Wood's visual analysis of these images is impressive and cogent. Her writing is clear and accessible to a wide audience. This is cultural history at its finest!
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Reviewed in the United States on April 17, 2018
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pat delzell
Charlottesville, US
★★★★★ 5
Great book ...disturbing subjet
Format: Paperback
This book explained the rationale for lynching! It was just what I needed for my graduate course!!
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Reviewed in the United States on July 14, 2019
B
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B. Kirzner
Grantham, US
★★★★★ 4
Lynchers Were Worse Than I Thought,
Format: Kindle
It was worth the time and effort to get through this book. It has opened my eyes to the scapegoating of Black victims’ as the evil ones and whites as the religious moral ones. That being said, this book was too detailed, making it slow reading. Overall, it still was and is worth reading to understand this massive projection of guilt and evil on victims, and the taking of justice into mob rule.
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Reviewed in the United States on November 8, 2021

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